I find it intriguing that a reality show supposedly searching for “America’s Top Graphic Designer” has little concern for how it represents itself visually and yet expects to attract the aforementioned top designer. The identity is, at best, sophomoric, with a weak concept and definitely not an “out-of-the-box” execution.

For an industry that prides itself on allowing for clear, simple communication, the website does not provide a complete picture of the competition itself. For example, who are the sponsors and why would the winner want to work for them? How much of the $50,000 is cash vs. prizes?

Cheryle R. Reynolds, the founder and producer, is not even a registered member of the American Institute of Graphic Artists (AIGA), the largest professional association for graphic designers in the United States. Her 20 years of experience in the industry have definitely not instructed her where to find the best designers, as primary and “cutting edge” design centers like Chicago, Minneapolis, Seattle and San Francisco are not included in the audition locations.

The most compelling concern is that “America’s Top Graphic Designers” already have amazing careers and would in no way submit themselves to any kind of farcical and inaccurate depiction of their treasured profession. The mere idea of this show is offensive and will only demean and dilute the value of excellent graphic design.

The insightful truths of Keith Olbermann.

1. I’m a contributor to a new blog called ‘the syllabus’
We’ve just started getting content together so we have a good launch. It’s focused on graphic design students and young graphic design professionals, their unique concerns and things that will ease the transition between school and work. I’ll be the contributing typography expert (whatever that means) with a weekly blog and more infrequent articles. I’m rather excited about it.

2. I’ve started a new typeface. Granted, it’s still in the incubation stages, but I feel like I have a solid design brief/concept that fills an area that seems to be needing filled within the realm of type design.

3. I’ve also been tossing around another idea for writing, mostly just a fun way for me to journal and incubate ideas. It’ll be called GrayMatters. I’m so clever. I’m hoping that I’ll be able to get some funds to publish every year. I think after I incorporate Typecaste at the beginning of the year, I might use it as the basis for my annual report. Who knows?

One little caveat on #2. Austin made me promise that I’d take at least a month off before starting another typeface so there probably won’t be any updates during the next month.

So I finally heard from the gallery this week. The exhibition is October 20-31. I’m excited, but also a little stressed. I still have quite a bit of work to finish up, but things are close. I’ll be preparing the poster/specimen for press this weekend. I’ll also be taking my camera with me to catalogue the printing process and the exhibit, so look for those images soon. I’ll also have printed samples available after the the 20th, so if you’re unable to attend the exhibition and want one, just email me with a current address and I’ll mail one out. Unfortunately, printing specimen books ended up being more costly than I anticipated, so I’ll have a pdf available on my website.

Typhotheque, a foundry based in the Netherlands, just released a pretty ingenious system of display fonts that span the course of type history. It’s called History. Check it out.

Now for the explanation: As designers, we often look for inspiration as we do our work. At Hint, this has become an essential element of how we keep up with design trends. Christian (the boss) likes mantras and one of his is Good Design In, Good Design Out—referring to necessity of the “recharge” or inspiration to continue doing good design. ffffound.com is one site that we refer to fairly regularly and it’s both flattering and terrifying that my work has now made it on to the site.

This ought to provide me with the sufficient motivation to finish my website. So…